Founding Editor: Ina Bertrand
Editors: Anna Dzenis and Raffaele Caputo
Online Editor: Cerise Howard
The developments of new digital technologies and representational forms have revived interest between photography and cinema, an interest that is both creative and critical. Independent filmmakers are availing themselves of alternative exhibition formats and spaces for their work, and moving image experimentation is now commonplace in the fields of contemporary fine art, design, music, and theatre.
For this Special Issue of Screening the Past, guest editors Des O’Rawe and Sam Rohdie bring together a collection of original articles on the aesthetic and institutional relations between film, photography, and the visual arts, in particular writing that is attentive to cinematic forms and their reconfiguration within the contemporary visual arts.
Complementing this Special Issue, Screening the Past #29 features several other articles that ‘speak’ of the rapport between films, filmmaking and still photography. In First Release, we publish the memoir titled “Our Place in the World” by George Kouvaros (who also contributes to the Special Issue with an essay on Robert Frank’s Me and My Brother), and a marvelous essay by writer-director Kathy Drayton about the making of Girl in a Mirror, an extraordinary documentary portrait on the late Carol Jerrems. The latter essay also features a clip from the film, used here with the kind permission of Kathy Drayton and the film’s producer, Helen Bowden.
We also direct the reader to Classics and Re-runs which includes two retrospective articles on Bill Henson—“Bill Henson and the Devil, Probably” by Adrian Martin and “Bill Henson and the Cinematic” by John Conomos. The first was written in 1985 on the occasion of a Bill Henson exhibition at Pinacotheca in Melbourne, and the second was originally a public talk to accompany Bill Henson’s Survey Show at the Art Gallery of New South Wales in early 2005.
The relationship of cinema and photography and film has already been the subject of many studies, but given the breadth of articles collected for this issue it is a subject that Screening the Past will likely continue to explore in subsequent issues.
We wish to thank Sam Rohdie and Des O’Rawe for all of their hard work in organising this Special Issue, and for proposing the idea to us in the first place.
Anna Dzenis and Raffaele Caputo
The ARC-ERA ranking of international scholarly journals rated Screening the Past A* (i.e., A+) in the Historical Studies Category, and also in the Film, Television and Digital Media category.
|Published by The Screening The Past Publications Group.|
We are grateful for the continuing support of La Trobe University and the Cinema Studies program in the School of Communications, Arts, and Critical Enquiry.